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Jonathan Church is an unusually visible artistic director on opening nights,
an affable host in his Chichester season. I meet him in the aisle at his
almost indecently adorable production of Singing in the Rain, with
Adam Cooper melodiously kicking up great rainbow skeins of water with
balletic grace and a melting grin. Abandoning the critic’s official
poker-faced discretion I hiss to the director as we pass: “Oh, please tell
me he’s a nice guy as well!”

“He is,” Church says happily, “the coolest man on the planet.”

It is good when a director — especially one running a precarious season